A Conversation with Brian Level + A new Void Page!
As winter tightens its grip across the Midwest and Eastern US, we at Dauntless Stories have been hard at work, making sure our recent Kickstarter projects are moving toward completion and fulfillment. The cold might slow the world down, but not us—we’re charging ahead, ensuring every story we’ve promised gets into the hands of eager readers to the best of our ability while being respectful to all the creators involved in the process.
But even as we focus on wrapping up these projects, we can’t help but look ahead. 2025 is shaping up to be an ambitious year for Dauntless, filled with bold new stories, fresh creative collaborations, and even bigger plans to push the boundaries of independent comics. We can’t wait to share more in the months ahead.
For now, let’s talk about what’s happening right now—starting with a look at the next page in our new weekly webcomic VOID and an inside scoop from one of indie comics’ most fearless creators.
VOID
A boy without a home, an empire in turmoil, and a hero who rises from dark and ash to do battle in an age of light without luster.
Some gods rule the cosmos. Others reshape it. And then there’s Tiago—who never asked for any of this. When his homeworld is obliterated in a cosmic catastrophe, Tiago is chosen—whether he likes it or not—to become the champion of Singularity, the god of space and gravity.
VOID PAGE 6
This was a page that made us feel like we were kids again sitting in front of the TV watching something like Power Rangers or Ben 10. The feeling of excitement and awe as our protagonist becomes what we all came to see…the hero. I hope this page shines through as it did for us because as Marcus said, this is where the fun starts.
If you would like to start reading Void from the start, click the button down below!
WARNING: The interview below contains images of horror and adult contenT.
A Conversation with Brian Level
We sat down with Brian Level, creator of the new horror comic SWEET BOY, produced with Dauntless Comics, to talk about folk horror, the eerie allure of small towns, and the strange alchemy that makes horror stories unforgettable.
Brian shares his thoughts on the mysterious setting of Saint Peter’s Cape, his collaborative process with artist Noah Halton (who we will be interviewing next issue!), and how his own experiences and influences shaped the unsettling atmosphere of the book.
One of our favorite takeaways? He writes every page with something creepy in it—so readers should expect a story that lingers, chills, and refuses to be forgotten.
**What inspired the central theme of "Sweet Boy," and how did you conceptualize the blend of folk horror and mystery in the story?
To be completely honest, Sweet Boy, inspired its themes. I’m sure subconsciously I have something I’m working out, but really getting to know Elaine and Toni really kinda informed me of what the story was trying to say. It’s pretty rare I approach stories with a pre-set theme in mind. Maybe most people are this way, and it’s a cop-out answer, but really observing these two interact with others and St. Peter’s Cape really dialed things in for me.
Saint Peter’s Cape plays a significant role in the narrative. How did you approach creating this Oceanside town, and what influences shaped its eerie ambiance?
The water holds mysterious things. Whether literally or in our imaginations, it’s teeming with unusual things. Lovecraft really tapped into that. Messiah of Evil. My own odd relationship with the Atlantic Ocean. Folklore. I love the hiddenness. There’s so much that happens in and on the water. As a religious person, even baptism and the initiatory nature of water cannot be ignored. As a landlubber, coastal narratives hold promises for me. Fear, love, adventure, etc.
Working with Noah Halton, how did you ensure a cohesive vision for "Sweet Boy"? Can you share insights into your collaborative workflow?
Noah is great. I can be particular about certain stuff. He doesn’t always like what I say. I love that he’s got a unique point-of-view that’s very different from mine, much of the time. Always surprising in the very best way. I just write. I try to be clear and not overwritten. And if something is particular I give more details, obviously. I’m finnicky about horror beats, but he doesn’t really need the direction as he’s a horror genius. Sometimes I can help out with some blocking/blueprints and layouts but that’s EXTREMELY rare. His characters are so unique and weird. I give my two cents early on, but I try to not give a note unless it’s improving clarity or effect. He turns in page after beautiful bloody page. And they're always better and better. His coloring is so moody and wonderful. I love working with Noah.
Folk horror relies heavily on atmosphere. What visual techniques did you employ to evoke suspense and unease throughout the comic?
Some of that is secret sauce ;-) Largely because if you see it, some story stuff may get spoiled. We try to play with environments, dreams, 3rd party narrations and internal folklore, and technology to create a weird suffocating world with its own rules. Being deliberate and dense helps. I also try to write every page with something creepy on it.
Are there personal experiences or interests that influenced aspects of "Sweet Boy"? How did they shape the narrative or artistic choices?
Local folklore is always so interesting to me. Weird local crimes and murders were something I was affected by as a kid, so they come out here. Additionally, the bottle universe of a small town is completely attractive to write about. Tourist towns, college towns, and rural villages, all have their own unwritten social laws that can be terrifying or enticing to outsiders.
Reflecting on the project's journey, how did "Sweet Boy" evolve from its initial concept to the final published work? Were there any major changes along the way?
Not really that I can think of. We added more to the original concept rather than changing it.
Following "Sweet Boy," are there any upcoming projects or genres you're excited to explore?
I tend to hand out in the Weird Fiction subgenre, largely because I love its flexibility. I always wanna play more in romance, but I can be a very mean writer, so I don’t know if I’m tenderhearted enough for it to be earnest yet. I try to never force anything that feels off just because I wanna. I’ll wait for the door to open to me and fight it where I feel like I should.
If you are interested in Sweet Boy, you can pick up a digital copy of the 44+ page first issue or follow along as Brian drops weekly pages and more behind-the-scenes content over on his Patreon!
See You In the Next Dauntless Dispatch!
That’s it for now—but in a couple of weeks we will be back with an interview with Sweet Boy artist Noah Halton. As always, thank you for being part of this journey with us. The best is yet to come.
Stay warm, stay bold, and as always—be Dauntless.